1. Introduction to calligraphy in the Koh-kotsu bun style
1984 Nichi-boh Shuppan-sha \3.500(out of print)
A primery compiled out of my works. An introductory lexicon of writing styles, an explanatory section introducing Koh-kotsu bun for beginners and an index. With this book you can enter the old world of the "IN Kingdom", which existed more than 3.000 years ago.
I am going to write a new version of
1986 Nichi-boh Shuppan-sha \4.800(out of print)
This book is based on the same concept and style as my previous book, "Introduction to calligraphy in Koh-kotsu bun style". This is also a primrry being compiled out of my works. It includes an introductory lexicon of writing styles, an approach to calligraphy in the Kim-bun style, and its points at issue and information on how to get the Chinese books.
I am going to write a new version of
1988 Moku-ji sha \3.500(albite consumption tax)
In the IN period there were a great many Koh-kotsu bun, a few Kim-bun and few Toh-bun (which are the characters left on old China wares). In the next Sei-SHUH period there were very few Character's remains without Kim-bun. This means you can practice a pure calligraphy in an ample number completly in Koh-kotsu bun from the IN period, and Sei-SHUH ki Kim-bun from the Sei-SHUH period. But when it came to Toh-SHUH (Sen-goku period & Shun-juh period), It seams that examples of writing had become dispersed over local regions. This was a result of the decline of the governing power by dynasties and the fact that the use of Characters were monopolized by the allotted ranks. On the contrary local powers were growing stronger. Especially in the Sen-goku period, in the age of local warlords, people couldn't communicate in Characters because they used different Characters. But, later, Shi koh-tei of SHIN subdued local warlords and governments and unified China. Along with this unification came a limited standadization of the Characters which were spoken and written.
This book is so made that it throws bright light on the variety
of Characters in the Shun-juh and Sen-goku eras.
It seeks fresh calligraphical possibility in spaces and eras
provides a cross-reference available Characters. And the main
works of this era, are presented, taking some reference and comparison
from "Kan-go Ko-moji Ji-kei hyoh" and "Ko-moji
Rui-hen". Moreover, the book is so made to help the
reader see and think about the relationship between Ko-bun
4. A beginners book of "Calligraphy in ancient Chinese Characters"
1994 Gei-jutsu shim-bum sha \2.854(consumption tax included)
Introduction : Michio Matsumaru (Professor Emeritus of Tokyo university, majoring in Chinesse ancient history and Koh-kotsu,Kim-bun research)
The expression "Ko-dai moji sho-doh" meaning 'Calligraphy in ancient Chinese characters' is my original naming. Before me people said both Koh-kotsu bun and Kim-bun were a sort of Ten-sho. There were few works of Koh-kotu bun, Kim-bun and another ancient Characters and when it came to Ten-sho, it really meant Shoh-ten. Very few people had traced back to the Toh-SHUH period and so they wanted to examine the characters. Later they were eager to make out as exhibitable works. This book was compiled with the aim of synthesizing the old Characters now available and systematizing them.
I'd like ordinary people to get interested
in ancient Characters and calligraphy, even if they don't write
with brush. I'd like to show a lot of pictures and illustrations
in the same way graphic magazines would show them. Another of
my aims is that this book establishes itself as an important
introductory book for people who had some interest but didn't
dare to jump into the world of calligraphy. I hope it will also
be used as a 'refresher' guide book for those who quit half way.
In the appendix I have compiled some knowledge of calligraphy
and a list of references.
5. A picture book of calligraphy (A zoo of ancient Chinese Characters)
1997 Nichi-boh Shuppan-sha \2.400(albite consumption tax)
I'm a calligrapher and for 20 years I've been hunting for dictionaries of old Chinese Characters every day and getting this old (people compliment me,saying I'm still young). Years ago I found there were a lot of names of animals in them. By and by I thought people would enjoy it if I -it's me that can do this- compiled these words putting them in some order. I got an idea to make a work arranging one word next to one picture and to give a brief comment of mine according to my interest and concern. That's why I called the book "A picture book of calligraphy".
I had had limitless concern and interest in the question "Do
the animal names of old and present age remain the same".
I was interested in the relationship between the old and present
species, the relationship between Japanese and Chinese Characters,
the comparison of animal names of present Japan and China, human
beings surrounded by nature, the relationship between human beings
and animals, etc. As I went on working I found Kirin,
Hoh-oh, Ryuh and others which are imaginary animals.
I thought about them. Anyway I myself enjoyed studying my "favorite"old
Characters and animals.
6. A lexicon of ancient characters by "Setsu-mon Kai-ji"
1998 Moku-ji sha \12.000(albite consumption tax)
This is my point : "If you'd like to delve more deeply into the world of Chinese Characters you have naturally to see whole passages of 'Setsu-mon Kai-ji'. And in an understandable style. " There are a lot of opinions and comments in terms of the origin, how to do calligraphy, etc, but first of all, putting difficult points aside, you have to see the oldest dictionary now remaining, "Setsu-mon Kai-ji." In it, there are about 10.000 words and the entity of Characters available.
What was eccentric was that there were about 3.000 words outside the first and second Chinese Character lists and supplements (so-called third criterium in JIS cord of Japan). These words were hardly used, or forgotten. I'd sorrowfully say they are getting extinct. Yet these 3.000 words are not in any way unuseful words. Against the ethos of scholastic local circles they still retain strongly the history of Chinese characters, the life and the living style of old Chinese people, in short, there are Characters themselves, I'd strongly say. The reason is they retain the past in terms of Characters, getting extinct.
My greatest sorrow was that there was no such thing in Japan as the publication of the"Setsu-mon Kai-ji," and that is why I started compiling. my own version (extract from the introduction to the book)
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